Baldwin Hoyoul

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Balduin Hoyoul (* 1547 or 1548 in Liège ; † November 26, 1594 in Stuttgart ) was a Franco-Flemish composer , singer and conductor of the Renaissance .

Live and act

Balduin Hoyoul was the son of the Liège citizen Marcus Hoyoul and joined the choir of the Stuttgart court orchestra under Ludwig Daser's direction as a treble singer in 1561 at the age of about 13 . When his voice broke in 1563 , he was able to work as a contralto and composer for another year , but was then sent to Orlando di Lasso in Munich as a pupil for two years (1564/65). Lasso later wrote in a letter to Elector August von Sachsen : “There is also a young man with Hertzoge zu Wirtenbergk, who was my discipel, is at home in Liège, had the Wirtenberg Capellmeister's daughter, Zum Weybe, and he is called with Balduinus Hoyeux, a composer from Zimlich, and because he is young he can get better from day to day ”; this as a recommendation for the successor to the Saxon court conductor, in second place after Jakob Regnart . After studying with the famous master, Hoyoul returned to the Hofkapelle Stuttgart, where he had previously married the Kapellmeister's daughter Brigitta on August 11, 1574, and continued his work as alto and composer. In the Stuttgart choir books, the earliest entry of a work by him comes from the year 1569. Some members of the band received composition lessons from him, for example in 1579/80 the later court conductor Hans Konrad Raab and 1585/86 Tobias Salomo († 1621).

Hoyoul made a trip to Nuremberg in 1586 to participate in the publication of his Sacrae cantiones . In the late 1580s, his application for the important position of Saxon court orchestra master with Elector August was unsuccessful, despite di Lasso's recommendation, but he was given increasing recognition in his previous position in Stuttgart; here he was appointed his successor after the death of Ludwig Daser in 1589. His appointment also had the effect of increasing the inventory of instruments and music at this band with a significant increase in music history (inventory publications by G. Bossert in 1912 and H. Marquardt in 1936). On May 10, 1591, Hoyoul's wife Brigitta died; on January 23, 1593 he married the widow Barbara Jörgs. In 1593 he celebrated Duke Friedrich's accession to power with a "special Te Deum laudamus", which is considered lost. He accompanied the Duke with the entire chapel in June 1594 to the Reichstag in Regensburg . A few months later he fell victim to a plague epidemic . His successor in Stuttgart was Leonhard Lechner , also a student of Orlando di Lasso. Hoyoul's two sons, Ludwig Hoyoul (1575–1612) and Friedrich Hoyoul (around 1577–1652) also became musicians. The latter initially worked as a violinist and zinc player at the court in Heidelberg, perhaps later worked at the Danish court in Copenhagen , was employed at the Württemberg court in 1602 and later entered the service of the Electoral Palatinate .

meaning

Balduin Hoyoul's work came at a time when court orchestras throughout Germany had developed from a more ecclesiastical to a more courtly and thus more internationally oriented repertoire, which can also be seen in his work. In his motets he shows a preference for sonorous movements in different vocal groups and for contrasts between imitative and homophonic sections in the footsteps of his teacher Orlando di Lasso. Like him, he used the method of parody not only for his masses , but also for Magnificats . He is also extremely skilled at the process of musical text interpretation, which is expressed in the obvious use of melisms , ascending and descending melodic movements and the reduction of a movement to a duo of deep voices to express the self-minimization of the corresponding texts. In many places he uses an ascending Fauxbourdon sentence for the words "iniquitatem" (inequality, difficulty) or "miserationum tuarum" (compassion for yourselves), or for example an imitation in countermovement with the words "contra me est semper" (is always against me) in the piece “Peccavi super numerum” (I have sinned without a number); this also includes the representation of an urgent request by repeating the same melody formula nine times in the text “deprecationem nostram” (our prayer) in the Gloria of the Mass “Rossignoles”. The composer also takes the liberty of deliberately violating the rules of the respective church key , such as irregular cadences in text passages like "et malum coram te feci" (and I did evil before you), also through the non-key interval types brought about by imitation on the text “Tentationis” (of attempt, of temptation) in the motet “Venite exultemus Domino”. Balduin Hoyoul perhaps did not achieve the ingenuity of Leonhard Lechner among the lasso students, but has an important place among them ( Andreas Traub / Bernhard Meier in the source MGG).

Works

  • “Sacrae cantiones” with five to ten votes, Nuremberg 1587
  • "Spiritual songs and psalms with three voices", Nuremberg 1589, new edition in the Handbook of German Protestant Church Music, Göttingen 1935
  • Missa super “Anchor che col partire”, incomplete
  • Missa super "Rossignoles"
  • Magnificat cycle over all 8 church modes
  • 19 German hymn motets
  • "Ab oriente"
  • "Cum inicerent"
  • “Dominus regit me” by Ludwig Daser, intabulation by Hoyoul
  • "Iam surrexit"
  • "Non est in aliquo"
  • "Noe exultemus"
  • "Si confitearis"
  • "We were born a child"
  • Concordances to the “Sacrae cantiones”, Nuremberg 1587

Literature (selection)

  • Robert Eitner: Hoyoul, Balduin. In: Allgemeine Deutsche Biographie (ADB), Volume 13, Duncker & Humblot, Leipzig 1881, page 127
  • J. Sittard: On the history of music and theater at the Württembergischer Hofe , Volume 1, Stuttgart 1890
  • G. Bossert: The (Stuttgart) Hofkantorei […], 6 studies. In: Württemberger Vierteljahreshefte für Landesgeschichte 1898, 1900, 1910, 1911, 1912 and 1916
  • H. Marquardt: The Stuttgart Choir Books with special treatment of the masses , dissertation at the University of Tübingen 1934, partial print 1936
  • DT Politoske: Balduin Hoyoul - A Netherlander at a German Court Chapel , Dissertation Madison / Wisconsin 1967
  • Horst Leuchtmann : Hoyoul (Hoyeux, Huiol, Hujus), Balduin. In: Neue Deutsche Biographie (NDB), Volume 9, Duncker & Humblot, Berlin 1972, ISBN 3-428-00190-7 , page 673 and following
  • D. Golly-Becker: South German competitors - the relations between the Stuttgart and Munich court orchestras in the second half of the 16th century. In: Musik in Baden-Württemberg, 1995 yearbook, pages 109–125
  • AD Mccredie: Orlando di Lasso's Munich Circle and the Württemberg Hofkapelle at Stuttgart. In: B. Schmid (editor), Orlando di Lasso in der Musikgeschichte, Munich 1996, pp. 175–190
  • D. Golly-Becker: The Stuttgart court orchestra under Duke Ludwig , Volume 3, Stuttgart 1999 (= sources and studies on music in Baden-Württemberg No. 4).
  • Andreas Traub / Rainer Bayreuther: Balduin Hoyoul (approx. 1548–1594) . In: Rainer Bayreuther / Nikolai Ott (eds.): Choir composers in Württemberg , Esslingen a. a .: Helbling 2019, ISBN 9783862274185 , pp. 94-101.

Web links

swell

  1. ^ Andreas Traub , Bernhard Meier:  Hoyoul, Balduin. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 9 (Himmel - Kelz). Bärenreiter / Metzler, Kassel et al. 2003, ISBN 3-7618-1119-5  ( online edition , subscription required for full access)
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 4: Half a note - Kostelanetz. Herder, Freiburg im Breisgau a. a. 1981, ISBN 3-451-18054-5 .
personal data
SURNAME Hoyoul, Baldwin
ALTERNATIVE NAMES Hoyoul, Bauduin; Hoyeux, Baldwin; Huiol, Balduin; Hujus, Baldwin
BRIEF DESCRIPTION Franco-Flemish composer, singer and bandmaster of the Renaissance
DATE OF BIRTH 1547 or 1548
PLACE OF BIRTH Liege
DATE OF DEATH November 26, 1594
Place of death Stuttgart